Is it worth the hassle? Chris Squire used his 4001 (and modded 4001S/RM1999) in stereo so that he could route each pickup through different effects. The signals were effectively mixed back together. On Close To The Edge, Fragile and the other classic albums you don't hear each pickup split across the stereo field. There is a bit of the stereo splitting, from memory, on The Yes Album alone.
Chris Squire and co also didn't adhere to the rigorous dogma of sending the bridge pickup through a dirty channel and the neck pickup through a clean bassy channel. This gives you a weak, rumbly, fizzy tone unless you mix it very well. Beyond that, the treble stuff will all get lost in a band setting anyway. At worst you get a sort of 'swarm of bees following your otherwise dull bass tone' type effect.
The conventional wisdom is that you run the bridge pickup into your fuzz/drive/distortion pedals and keep the neck clean. For maximum confusion, Squire actually routed his neck pickup into a Maestro Brassmaster fuzz pedal, and kept the bridge pickup clean. This is how you get the pillowy fuzz and hard attack on tracks like 'Silently Falling' on his Fish Out of Water album.
I made my 4003 recording friendly by fitting Joe Barden humbuckers and completely shielding it. Before that it was a noisy antenna for all sorts of background interference. Add the ground hum from hooking one up to a pair of amps and you have a bit of a nightmare for home recording.
Stereo is fun and all, but at the last recording session my 4003 was run mono into a TC amp with a couple of exotic mics in front, and that was enough for the needs of my band.
